Commemorative Ceremony For Mevlana

701 *k Anniversary 1974 KONYA

December December December December December December December

5 6 7 7 8 8 9

1974 1974 1974 1974 1974 1974 1974

at at at at at at at

20.30 20.30 14.30 20.30 14.30 20.30 20.30

December December December December December December December December December December

10 11 12 13 14 14 15 15 16 17

1974 1974 1974 1974 1974 1974 1974 1974 1974 1974

at at at at at at at at at at

20.30 20.30 20.30 20.30 14.30 20.30 14.30 20.30 20.30 20.30

P R O G R A M M E

A) Opening Speech by Feyzi HALICf B) Mevlana.by Mehmet 6NDEP. C) Salectiorts from Classical Turkish Music D) Mevlevi's Rite and information about the

the rite E) Rebate Taksim

persons taking part in

INTERVAL (10 minutes) WORKS TO BE EXECUTED

1 Mevlana s Naat : Words by Mev ana - Composed by Itrt ( - - 1 7 1 2 ) 2 — Ney (Mevlevi's,Flute) Taksim 3 — Bestenigar Prelude : Hamarm zade ismail Dede 4 — Bestenigar Ri te : Harnarm zade ismai! Dede 5 — The Last Prelude•- Ferahnak pesrevi : Zeki Mehmet Aga 6 — The Last Yuruk Semai 7 — The Last Taksim

I S *

no

104

7 1

St

1 1

4

I S *

113

104

1 0

M

1 0

«

8 — Reciting of the Glorious Koran 9 — Prayer

ENTRANCE: t B D R 0 T <

1*0

114

1 0 *

1 1

5 *

1 1

I

U l

1 1 *

110

14

S t

14

1 0

1*4

I K

1 1 1

1 *

4 0

M

1 1

1 * *

140

114

S t

« 1

I t

14

1 4 *

I I *

» 0

* 4

4 0

14

»

144

l i t

n

** 4 2

I t

1*»

1 4 *

110

M

* t

44

1 0

170

M S

H I

** 7 0

4 *

1 1

i n

ISO

114

•• 7 1

4 1

1 4

i

414

174

114

1*4

1S4

114

174

4 1 *

1 7 *

1 1 *

3 * *

I S *

1 1 *

1 7 *

4 1 1

1 7 0

l i t

1 * 0

i s t

l i t

I 7 t

ito

1 4 0

100

1 * 0

130

i t o

4 1 0

1 1 1

1 4 1

3 0 1

1 * 1

m

i t i

4 1 1

I t *

144

304

1*4

314

114

414

3 1 *

1 4 *

1 0 *

1««

2 3 *

I t *

4 3 *

3S«

3 4 1

101

3 * 1

Ml

i l l

4 2 1

1*0

ISO

110

1 7 0

110

1*0

111

1 S 1

112

1 7 1

113

1*1

1 » «

I S *

1 1 *

2 7 *

2 1 *

I V *

1 *1

l i t

111

1 7 1

l i t

l » t

■

4 0 0

M O

130

110

140

300

401

1 * 1

111

1 1 1

1 4 1

301

404

1 * 4

124

2 M

144

304

4 0 *

1 * «

1 3 *

3 1 *

1 4 *

2 0 *

4 0 1

1 * 1

1 1 1

1 1 1

1 4 1

2 0 1

4 1 0

1 7 0

1 1 0

2 * 0

250

210

412

173

312

2 * 2

2S2

2 1 1

II

|

7 1

»* H I

111

1

I f

4 *

7 1

101

111

1 S I

1

17

S I

77

101

1 1 *

1SS

s

X *

S I

7 *

10S

H I

1S7

7

11

Sf

I I

107

111

I S *

» 1 1

S7

1 1

1 0 *

I I S

H I

I I

I S

5*

IS

111

117

1*1

11

17

* l

17

111

1 J *

1*1

IS

1 *

* ]

1 *

I I S

141

17

41

«S

»! 117

141

1 *

4 1

* 7

f l

1 1 *

14S

1*7

31

4S

** »S

131

147

I t *

2 1

4 7

7 1

»?

I l l

147

171

173

335

777

3 1 *

311

431

435

175

117

2 7 *

111

1 1 1

4 1 5

4 1 7

177

ia*

i n

i n

3 1 5

4 3 7

4 1 *

1 7 *

311

1 1 1

115

117

4 1 *

111

211

215

137

1 1 *

441

111

us

217

1 1 *

1*1

4 4 1

4 * 1

U S

237

l i t

341

3*3

445

4*3

117

2 2 *

2 *1

141

1*5

447

4 * 5

I t *

141

2 * 1

14 S

1*7

4 4 *

4 * 7

1*1

1 4 1

1 * 5

147

1 * *

411

4 » »

1*1

145

3 * 7

1 4 *

401

451

501

its

1 4 7

2 * »

1 S I

4 0 1

4SS

1 0 1

1*7

1 4 *

101

151

405

457

505

I t *

351

1 0 1

155

407

4 5 *

101

2 5 1

105

157

4 0 *

4 * 1

507

1 0 1

255

107

1 5 *

411

4 * 1

SO*

M S

2 5 7

1 0 *

1*1

4 1 1

4 * 5

511

107

2 5 *

i n

i « i

41S

4 * 7

111

1 0 *

2 *1

1 1 1

1*5

4 1 7

4 * *

515

311

2 * 1

115

1*7

4 1 *

471

S17

3 1 1

3 * 5

3 1 7

3 4 *

4 2 1

4 7 1

5 1 *

U S

2 * 7

2 1 *

171

4 1 1

47 S

511

117

3 * *

111

1 7 1

4 1 5

477

» l »

171

1 1 1

175

4 1 7

4 7 1

1 1 1

131

1 7 *

1 1 *

1 7 7

4 1 0

4 1 1

S IS

H i

375

117

1 7 *

411

4 1 1 |

-

ENTRANCE ft B

DANCE GROUP POSTNISIN

Selman TUZUN Suleyman LORAS

SEMAZENBASI

Ahmet Bican KASABOGLU

SEMAZENLER

Mehmet SUSAMIS Mahmut OMAG Mustafa HOLAT Celal LORAS Hasan ERTEKlN Mehmet RENGiBEYAZ Osman TGK te# ?l& ^ Adem TOK Mehmet CZCAKIR Bulent ERGENE Ercurnent ERGENE Ziya ERCAN Tahir KUCOK Mehmet VANOGLU Rasih KOCUKBAKIRCI Erol KOCUKBAKIRCI Emrullah NERGiZ Mahmut SOL.UKCU Ahmet B^REKUL Hasan ARICiNS Mustafa YILMAZ Ferit UGUR Ahmet TEKELiOGLU Mehmet BALAK Yavuz BALAK

Fahrf OZCAKIR Ismail BASAR Mustafa PEKER Mustafa GUNES Resat VAROL Sitki PEKONLO Ethem KARADAG SelShattin SENYUZ Nail KESOVA, .

MUSIC GROUP Sadettin HEPER Baskanliginda

NAAT'HAN

Karii KARACA Huseyin TOP

KUDUMZEN

Sakir CETiNER

Nezih UZEL Arif AYVAZOGLU

HALiLEZEN

izzet ESKiDEMiR

REBAB

Edib SEViS

TANBUR

Ahmet HATiBOGLU

KANUN

KEMENCE

Nihat DOGU

U D

Haci Kadri SENCALAR

NEYZENLER

Aka Gunduz KUTBAY Dogan ERGiN Arif BiCER Anda9 ARBAS Hulk! ERGUNER Suleyman ERGUNER Fuat TURKELMAN Halil YUNGA Sadrettin OZCiMi Mehmet KILIQ Coskun ATlK Hilmi YAVUZ

AY1NHANLAR

Ciineyt KOSAL

Ziya AKYiSiT Asaf GOVEN Cafer OZDEMlR Tacettin NARLI Saadettin MUS Yuksel YUKKALDIRAN Suleyman YAMAN Mehmet YOCEL Ziya DALGIC

C D

* M

« u

J 7 4

1 1 1

4 * 0

4 4 1

« 4 0

•is

1 7 *

> M

4 * 1

4 5 0

4 * 1

* M

S7»

514

4 * 4

4 S 1

444

4 1 1

5 ( 0

na

4 * 4

4 5 4

4*4

414

5 ( 1

540

4 * 1

454

4 4 *

4 1 *

5 ( 4

5 4 1

500

45S

4 7 0

4 2 1

5 ( 4

544

5 0 1

4 4 0

• 7 1

•SO

S M

544

S04

4 * 2

474

4 1 2

5 * 0

54S

504

4 * 4

1 4 7 *

• 1 4

5 9 4

5 S I

510

4«S

7*0

M O

« 1 (

5 *4

554

511

4 7 0

7 1 1

4 ( 2

• 4 0

S * (

Si*

S I 4

4 7 2

724

414

M 2

4 0 0

55«

514

474

7 2 *

*•* • 4 4

• 0 2

5*0

51S

4 7 *

7 1 1

••• * 4 *

404

M 2

sao

4 7 1

7 1 0

« * 0

44S

4 0 *

544

5 2 2

4 M

« * 1

4 5 0

«0«

5««

524

4 ( 1

7 1 1

« * 4

• 5 2

• 10

M S

5 2 *

4 M

724

«*• « M

• 12

570

5 2 1

4 M

7 1 *

•*• 4 5 *

• 1 4

S72

520

4 M

S*4

M S

M l

( 1 «

7 * 0

7 * 4

7 I S

••• • 7 0

S44

• I S

7 * 2

TU

7 4 0

•*» • 7 1

1 4 *

• 1 0

7 * 4

7 M

7 4 1

• 7 4

S4S

S22

7 * 4

7TO

744

S 7 *

• 50

( 2 4

7 * 1

7 7 2

7 4 *

* 0 0

• 7 1

• 52

• 2 *

( 0 0

774

741

»0 2

1 ( 0

( 5 1

l i t

( 0 3

7 7 *

750

♦04

S(2

S M

( 3 0

( 0 4

7 7 (

7 S I

♦ 0 *

• M

• S (

• 1 2

• 0 *

7 M

754

* 0 *

S M

s«o

• 1 4

• 0 (

7 ( 1

7S4

♦ 10

S M

M l

1 1 *

( 1 0

7 ( 4

7»»

t i l

I * *

1 M

aia

( 1 2

7 ( 4

7 4 1

♦ 1 4

M l

SM

1*0

S I 4

7SS

7*2

i

nt

5«1

6 3 }

M l

nj

7 » »

M l

U I

M J

t i l

wr

7 1 *

7 * 1

M S

H I

sss

« r

M *

741

7 * 1

M S

SIS

5S7

4 1 *

« * 1

7 4 1

7*S

517

i$V

44!

*»J

7 4 i

7*7

S I *

5*1

441

«»S

747

7 * *

( 4 7

541

5 * 1

445

4 * 7

7 4 *

• 0 1

• 4 *

5 4 1

5 *5

4 4 7

4 * »

751

1 0 1

SS I

54S

5 * 7

4 4 *

701

7 1 1

SOS

( S I

547

5 * *

451

701

755

( 0 7

( 5 5

5 4 *

M l

4 5 1

705

757

( 0 *

( 5 7

551

401

455

7 0 7

7 5 *

( 1 1

( 5 »

551

* 0 5

*S7

7 0 *

741

( 1 1

(41

SS5

4 0 7

• S »

7 1 1

7 * 1

S I S

5S7

4 0 *

4 4 1

7 1 1

7 * S

( 1 7

••a

5 5 *

• 11

M S

7 1 1

7 * 7

• 1 *

M S

M l

4 1 1

445

717

7 4 *

( 2 1

M 7

M S

• IS

M 7

7 1 *

771

• 2 1

M *

M S

* I 7

M *

721

7 7 1

• 2 5

• 7 1

5*7

• 1 *

• 7 1

721

775

127

• 7 2

M *

• 2 1

• 7 2

725

7 7 7

• 2 *

• 7 5

5 7 1

i l l

* 7 5

727

7 7 *

• 2 1

• 7 7

5 7 1

• I S

* 7 7

7 2 *

7 ( 1

• 1 2

575

• 2 7

4 7 *

721

7*2

M S

• 7 *

577

4 2 *

4 ( 1

7 2 1

7«5

• 1 7

M l

5 7 *

• 2 1

M 2

71S

7«7

• 2 *

M S

115

* l l

• 1 7

» * J

»•* 1015

1041

• • 7

• 12

* l f

* * 5

» * 1

1017

1042

S S *

♦ 15

» 4 I

• « 7

» » 1

1 0 1 *

1045

S»l

♦ 17

»4J

»«* »»S

1021

• * S

» 1 *

*4S

» 7 I

f » 7

1021

SfS

♦21

♦ 4 7

♦72

»»» 1025

1047

( » 7

♦21

»** »75

1*01

1057

1B4*

• ♦»

925

*S1

• 7 7

1001

1 0 2 *

1051

* 0 1

♦ 17

»S2

» 7 *

1005

1011

l O S l

* 0 2

♦a*

*ss

M l

1007

10S1

1055

*•• * 1 1

M f

M l

1 0 0 *

IOSS

1 M 7

M 7

• S 2

»S»

M S

1011

1017

1 0 5 *

M »

♦15

M l

M 7

1012

1 0 2 *

1 M 1

C D

After the Great Mevlana who regarded the day of death as a union with God, as a wedding day .the Religious Order of Mevlevi was set up based on the principles and ideas of Mevlana by his son Sultan Veled and his fol lowers. Those who joined this order were called Mevlevi.

Although the word Mevlevi relates to Mevlana. it is also connected with the word " teve l lu " in the Glorious Koran which means that "you see the face of the God wherever you turn . " Mevlevi 's r i ts which is called mukabele an example of which you wi l l see now, has taken place in Mev­levi's convents and coc.yenticles for religious music and dancing. Muka­bele, that is to say Mevlevi 's r i te which symbolizes divine love and ecs­tasy in the mystical sense, absolute maturity and union with God, and the steps of the way to union, is performed according to the rules of good behaviour f ixed in its smallest details, in front of the music players, such as f lute players, kudum players, rite reciters and naat reciters who stand in a religious conventicle there is a quarter for religious music and danc­ing and just opposite it there stands the sheikh's post. The imaginary line which is supposed to extend from the end of the the post to the middle of the entrance to the conventicle is called the equator. This is the shor­test way to reality and the Unity of God (Vahdet). This line can never be stepped on.

As for the sheikh, he is the representative of the Mevlevism that rep­resents Mevlana in its post who has attained all the divine qualit ies as wel l as being the representative of the truth of Islam.. The post is the greatest moral position and is in red. Red is the colour of union and mani­festation. As is known night begins wi th the twi l ight at sunset -. and Mev-ISna too passed away to eterni ty 7 0 1 years ago on 17 th December, 1273 on a Sunday evening w h e n the sunset was paint ing the horizons of Konya red. And the day starts w i t h the redness cal led d a w n at sun r ise. That w h y the post , the moral pos i t ion , is red as a co lour o f un ion and mani festat ion.

After the music players, dancers and sheikh take their places f i rst naat-i serif is recited by Naathan. Naat of Mevlana composed by Itri praises our Prophet wi th the most touching words and begins wi th "Oh Mevlana, the real lover." Then comes f lute playing, when the f lute sing its longing for the reed-bed which is its noble homeland. The f lute is the symbol of mature man and suffers the longing for union with God wi th i ts pathetic and touching voice.

After thjs the period of Sultan Veled begins. The ceremony which consists of the whir l ing of the sheikh, members of the convent and der­vishes three t imes in the middle of the conventicle wi th the rhythm of music and according to the les best of good behaviour, aims to sanctify the maturity of the absolute being by mutual bowing or entreating face. to face.

The conical hats on the heads of the whir l ing dervishes represent their tombstones, their coast their tombs, and their skirts their shrouds. They are no longer wordly but are lovers revolving around the other wor ld. As a matter of fact the right side of the conventicle is the tangible and

•

known wor ld ; its left is the invisible and unknown moral wor ld ; the whir l ing dervishes are the moral beings of the moral wor ld .

The period of Veled is an indication of the resurrection of the dead, and of eternal l ife through the guidance of the sheikh. The three rotations according to myst ic ism is to know God through science the second rotation is to see God and the third is to be together wi th God.

While the Sheikh completes the f i rst rotation, he comes face to face wi th the youngst Dervish called nev-niyaz. They bow to each other and thus show humil i ty in the most apparent way. This mutual meeting is at the same time a penetration to each other's hearts. At the end of the third rotation the Sheikh goes back to his post and the whir l ing Dervishes take their places.

The rite starts after this rotation. The whir l ing Dervishes take of their coasts in the recognized way, that is to say they str ip off their worldly troubles and sl ip out of their tombs. In the meantime the Sheikh walks in f ront of the post, bows and everybody fo l lows h im. The head of the whir l ing Dervishes comes forward and kisses the right hand of the Sheikh, then the others meet the sheikh one by one and start whir l ing. While whir l ing the right hand of the Dervish point upwards in prayer and the left hand downwards. This means that "We receive f rom God and distr ibute to the people, we own nothing, and that we are nothing but a visible medium. In other words it means we evaporate into the sky, rain on to the earth, and our existence has dissolved in God's compassion. The whir l ing Dervishes rotate both around themselves and around the quarter, just as the heavens, the planets, the stars and the wor ld rotate both around themselves and the sun with force of the sun. Whir l ing is a rotation around the world in the presence of Gold, the sun of the universe,

As a matter of fact, whir l ing is a means of ecstasy that leads to God and loss of consciousness and the intoxication of the soul of such a person. In the words of our Mevlana i t is a garment of the spir i t to unite wi th love, to feel the thr i l l of meeting and to have the pleasure of removing the veils to enter the presence of God.

The f i rst rotation of the whir l ing is to watch the rest of the rite is saluting. In the f i rs t phase of the salut ing, the lovers get rid of their doubts and believe in the union of God. The second phase of saluting is to reach a posit ion to see God. In the third phase the lovers views mature. They lose themselves in the maturty of the absolute being in the fourt, that is the last phase, they stay at the stop of unity and rotate around their own center.

The head of the whir l ing Dervishes leads the whir l ing. Those in the dance adjust their positions according to gestures he makes with his feet and head.

In the third phase of the whir l ing the sheikh enters the dance. The sheikh, who whir ls in the middle of the equator, of course represents Mevlana here. After whir l ing the sheikh advances to the post slowly and when he arrives there the whir l ing terminates.

Mehmet ONDER

Come, come, whatever you are, it doesn't matter Whether you are an infidel, an idolater ar a

fire-worshipper, Come, our convent is not a place of despair. Come even if you violated your swear A hundred times, come again.

Mevlana Celaleddin